June 26th, 2009 |
Posted in Album Reviews by john
Every album has its very own time and place. For Monroe Stahr’s debut album, it really shouldn’t be very hard to deduce the right time. The first track is, “Summer Starts Here,” and that’s about right. The acoustic guitar paints a picture pretty early on of a veranda, or a nice bar/café patio in the hot summer sun, a comfortable, but somewhat restless atmosphere that carries on throughout the album. Much like other good summer albums: Sister Hazel, Phantom Planet’s the Guest, Roman Candle’s Midnite Revue, etc. Monroe Stahr walk a fine and difficult line between sounding “easy” and free without sounding “lazy” or non-committal. That easygoing quality last through the first third of the album and it’s a nice little triptych for a summer afternoon, the acoustic and electric guitars trading center stage without struggling for the spotlight or overcoming the vocals, again, a tough line to walk. And, like any good summer band, the rhythm section keeps things at a nice pop tempo. There’s not a lot of showy drumming or bass work here, which fits the atmosphere rather well, bring in too much rhythm and people will want to get up and move around, and really, this album wants you to sit and enjoy your beer (or wine, you fancy-pants, you.)
Stahr pulls a lot of influences into this debut, at times, especially on “Mantras”, sang by Nathan, they do a very good job of channeling Joy Division into something relatively optimistic, or rather, non-nihilistic, and the effect is something like meeting a bummed, yet well-adjusted Pete Doherty and the Libertines. It’s a welcome feeling, and when the album manages to pull these moments off it shows the potential for a band of musicians that, while clearly talented, don’t seem to have much of a plan right now.
But you know what? That’s OK. Bands don’t always need a plan, and most of the best debut albums lack any real thesis (I’m thinking of “Greetings” from Asbury Park, for some reason.) Stahr is really on point when conveying that warm feeling, most evident on tracks like “Summer Starts Here,” “Nescafe Years,” and “Square One,” the last of which is likely the best song of the album. It’s the song with everyone on top of his game, and every element really works. The rhythm section gets a little bit of elbow room, the vocals get a well-deserved breaking from trying to be serious, and the guitars work together perfectly.
About those vocals. Nicky Almasy clearly has a good voice for rock ‘n’ roll, but throughout most of the album, he’s simply trying too hard to affect. And that’s a shame because not only does he have a great voice, but the forced drama and “Arctic-Monkey-ness” but also because it really clashes with the atmosphere of entirely pleasant guitar work. At times it sounds like an acoustic Alice in Chains, with a vocal trying very hard to sound rock ‘n’ roll badass and instrumentals just having a good time.
Almasy makes up for it substantially by writing pretty good lyrics. “History,” in particular has the sort of simple lyrical thesis that is really easy to get behind, and like “Square One,” it’s back by an excellent accompaniment that adds just the right amount of melody to the unforced but emotive lyrics.
There’s one song that I’ve avoided ‘til now, mostly because I simply don’t know what to make of it. “Airport,” is the kind of song that will come on at a party and everyone, at the same time goes, “is that…. That’s…. wait, no, it’s not. What is this?” Essentially, it’s an acoustic rock lobster with an almost wall-of-sound style electric guitar on top, reverbed, toned down shouting underneath, and the chorus “It was you.” That last bit sounds doesn’t really sound note worthy, but it is, mostly because the opening, “Rock Lobster” riff comes back just as Almasy sings “it was,” so my brain just keeps thinking “a rock… a rock lobster” no matter how many times I listen to it.
Finally, the last two tracks may sum up everything good and bad about this debut. “That would be a No,” has trying-too-hard written all over it, from the lyrics to the vocals and the instrumentation. It really feels like a filler “sad song,” and, more importantly, the kind of thing that these guys can definitely do better (since they already have in “Square One”). But the closer, “Nescafe Years,” it’s a shining white light of hope. OK, the lyrics are a slight bit cliché, but the song itself is excellent, all of the pieces, including a few added “bee-boos” (xylophone?) fit together perfectly and it’s an altogether great way to finish a summer album.
The album cover for DaShiJie is a winding, open road, and that’s a pretty good metaphor. This is open music, summer music, maybe even road music, but there’s definitely a journey to make, and bands could do a lot worse than a first step like this one.
tags: Elbow - Emo - Joy Division - Listen to - Monroe Stahr - Pop - Racks - Rain - Rock - Void
June 3rd, 2009 |
Posted in Interviews by mache
Jane Tan, aka DJ Siesta, is the loving founder of Phreaktion, a committed follower of drum ‘n bass, and a dedicated party enchantress. Last May, Phreaktion celebrated its 10-year anniversary with a party featuring Andy C. Some days after the party, when Siesta was trying to have a chill out week, we decided to interrupt her rest and had an e-chat with her about Phreaktion’s history, present and future. And better later than never, here we have it.
Layabozi: Hey, Jane.
Jane Siesta: Hi.
LYBZ: How are you?
JS: Yeah, not bad! You?
LYBZ: I’m fine, thanks. How is the chill out week going so far?
JS: Not going so well (laughs). I’m still working.
LYBZ: What are you working on?
JS: Following up on Andy C, Eklektik tomorrow, next few posters, etc. I mean I’m “fairly” chilled but I wish I could do NOTHING AT ALL.
LYBZ: Yeah, I understand that. How was the Andy C gig for you?
JS: Yeah, it was a really good night. I’m very glad.
LYBZ: You know I thought we must write about Phreaktion anniversary of course, and if we talk about it this way it would make it much easier to get it published sooner. So, are you okay with free time now to go for it?
JS: Yeah, sure!
LYBZ: Cool. …It’s Phreaktion’s 10th anniversary right?
JS: It’s not an “anniversary” per se. My first party was in July, 1999. I guess it’s a marking of promoting drum ‘n bass for 10 years.
LYBZ: What party was that one?
JS: It featured Dieselboy.
LYBZ: Where did you do it?
JS: Hong Kong. We converted a sports bar into a party venue.
LYBZ: And how did it turn out?
JS: Quite sad really. We had ninety something people. But the party was so good and Dieselboy was so amazing, the word got out. The next time he came to play for us we had over 500 people.
LYBZ: Wow! Was drum ‘n bass popular in Hong Kong already?
JS: No. It was still very underground and an expat thing
LYBZ: Was that party the first one of “Phreaktion”? Or you created it after?
JS: No. I took a break in 2002 because it was getting too difficult to put on events. And on 2003 I started doing the nights again that were smaller, easier to handle, and involving more local DJs, under the name Phreaktion.
LYBZ: Still in Hong Kong?
JS: Yeah, I only came here at the end of 2004.
LYBZ: Were you working alone, or did you have any partners?
JS: My first 3-4 parties in Hong Kong I had a partner. After that I pretty much did it alone. Of course, I have had a lot of friends around to help me.
LYBZ: So that was the beginning of Phreaktion, pretty much. It looks like it began very naturally, almost by chance.
JS: I’m not sure what you mean. I don’t think it was by chance I started doing parties. I mean, it was by chance I heard the music for the first time and I wanted to learn more or get involved more, but I was doing some research and talked to a lot of people before deciding to do it myself.
LYBZ: What were you researching before?
JS: How to put on parties. What kind of things do you need to do.
LYBZ: Were you expecting to become a professional party planner?
JS: Yeah that was the plan, to make it as a professional outlet. But we were just doing it and learning it at the same time.
LYBZ: What was the role of the music in your plan?
JS: The party was about the music. It was to promote the music, parties were just one of the mediums to promote it.
LYBZ: And the music is drum ‘n bass.
JS: Yes.
LYBZ: So what is your relationship with drum ‘n bass? What attracts you to it?
JS: It has a rebellious, almost punk-like attitude about the music that I’m mostly attracted to. Of course, because it has so many different many styles incorporated and the parties are always so high-energy, it’s a very expressive form of dance music.
LYBZ: About the almost punk-like attitude, why did you choose drum ‘n bass and not punk?
JS: They’re not the same kind of music. I guess with punk music it’s more lyrical, you voice, your opinions through the lyrics. My comment on the “punk-like-attitude” relates to how drum ‘n bass rebelled (against) the existing dance music at the time.
LYBZ: I see, so is this what moves you about drum ‘n bass?
JS: No. The music moves me; the beats, the bass line. I mean, everyone goes through different stages of taste and preference when it comes to music and that extra something about drum ‘n bass kept me interested. It’s always evolving. Challenging what’s around already, pushing the boundaries.
LYBZ: Is that what you have been doing, too, with Phreaktion?
JS: The predominant goal with Phreaktion is to promote drum ‘n bass in Shanghai and China. We’re doing drum ‘n bass and we are one of the first people to introduce dubstep in Shanghai, and now we’re doing it with Crack House.
LYBZ: Crack House?
JS: Yeah.
LYBZ: A new style of music?
JS: What Zinc was playing. A new style of house, yes.
LYBZ: I see. So, Jane were you DJing since the very beginning?
JS: No, after 4 years of putting on parties. So (I’ve) only been DJing 5-6 years so far.
LYBZ: And how do you feel now as DJ?
JS: In what way?
LYBZ: How relevant it is comparing it with the promotional work?
JS: The reward and result is immediate when you DJ. Whatever you do you see immediate results: either the crowd loves it or they hate it. You know right away. Promoting takes months to prepare and even after the gig is finished you feel like you’re still wrapping things up. It’s a different outlet. As a DJ you are expressing yourself and making people move. Promoting is more of creating a platform for people to come together and it’s more of a business. So I guess you can say it’s art vs. business.
LYBZ: How was your experience DJing when you brought Commix to The Shelter?
JS: Why was that particular gig brought up in relation to my DJing? Just wondering because I’m not sure how to answer.
LYBZ: I just remember I saw you extremely happy.
JS: To be honest I don’t remember anything particularly different that night. It was a Commix gig and I think I only DJed an hour after them. I was happy because it was successful, as a DJ.
LYBZ: Maybe you can recall (an)other gig that was to important for you.
JS: Well, I guess it was pretty cool to play in England the first time, quite amazing to play to a crowd that knew the songs and react(ed) to the mixes.
LYBZ: How is your feeling, after all these years of producing parties, about the crowd in Shanghai and China? How would you describe it?
JS: The crowd here is up for a good party. Good music. They’ll give pretty much anything a chance. I just hope to see more informational channels being created here: Internet, magazines, radios, so people can learn more about the music.
LYBZ: Yes, I know about that.
JS: This is already happening with Neocha, Douban, Udance radio show, etc. So I’m feeling positive
LYBZ: You also created your own website last year, Phreaktion.com. How is that working out?
JS: Phreaktion.com was created in 2006. Last year we re-designed it and re-launched.
LYBZ: And how is that going on?
JS: Yeah, the website’s doing its job. At the moment we haven’t had time to put in too much work because we don’t have enough contributors. Starting July August we will incorporate it more with the radio shows and podcasts.
LYBZ: So far, what is your feeling with the evolution of Phreaktion? I mean, are you totally fulfilled with your achievements?
JS: I’m proud of how long we’ve come. Very happy with the chance of having Andy C to mark the ten years in the business. The recession and financial climate is going to be a factor in deciding what the future is for us, so hopefully in the next 6 months we will see something positive. I mean, it was a positive outcome with Andy C. I am hopeful about the future.
LYBZ: If all goes well, then what are your plans for the future? What is your mind set on?
JS: A good radio show with good audience, a good web-zine that is the first Chinese drum ‘n bass website. Good events of course, and also spreading the music in other cities of China.
LYBZ: What is the next coming gig of Phreaktion?
JS: Sweatshop is still going every month at The Shelter. We are talking about having Total Science in August, and maybe, maybe, Roni Size in November.
LYBZ: How do you see the evolution of drum ‘n bass in China, compared with other styles of music?
JS: There’s no “evolution of drum ‘n bass”. There’s no local DJs, MCs, no producers. We’re still trying to create a scene, a scene which doesn’t mean “parties”. Right now we are a successful party promoter, underground party promoter, but still (have) a long way to go.
LYBZ: But are you hopeful about it?
JS: Yeah, of course. Just keep doing our thing and hopefully the kids are gonna get into it and want to make tunes. I know a couple of kids are already making the music, so it’s good.
LYBZ: And what about you?
JS: What about me….?
LYBZ: What about you making music?
JS: Producing is a very time-consuming thing and so is promoting. I made a few tunes but right now I don’t have time to do both.
LYBZ: And who are those guys making drum ‘n bass we should keep an eye on?
JS: Do you mean in Shanghai?
LYBZ: Yes, those you just mentioned that are making music.
JS: A bit too premature to say, honestly. Just a few high school kids playing around.
LYBZ: I see.
JS: The point is, there is an interest, so it’s good.
LYBZ: What is Phreaktion recommending to listen to these days?
JS: Sub Focus, one of my favorite producers, he is releasing his new album out in July so really looking forward to it. Also this new producer who is making a lot of noise right now is ShockOne from Perth, Australia. The ShockOne EP is very good.
LYBZ: What was the best gig you can recall by Phreaktion until now?
JS: Can’t say that!
LYBZ: Why?
JS: That’s over 100 gigs! The best ones have been the ones I formed unbelievable friendships from: (The) first time Goldie, Shimon, and Blame came, (the) first time Scratch Perverts came, doing London (with) Elektricity was amazing because he was my drum ‘n bass idol, and lastly of course, having Andy C. Just amazing.
LYBZ: OK. is there anything i haven’t asked you, you would like to add?
JS: I think that will be it! I have to go now anyway. Thanks for the interview.
LYBZ: Thank you.
tags: Andy C - Australia - China - Commix - Crack House - Dance - Dieselboy - Drum 'n Bass - Dub - Dubstep - Hong Kong - House - Jane Siesta - Listen to - NeoCha - Phreaktion - Pop - Punk - Shanghai - The Shelter
May 28th, 2009 |
Posted in Articles by mache
[vimeo]http://www.vimeo.com/2631992[/vimeo]
Sam Shepard, aka Floatingpoints (piano player, musician, producer, and DJ) has been making music since his early teenage years, and is now beginning to taste fame as Floatingpoints grows in popularity on the international music scene. One of his inspirations for music is the creative jazz musician Sun Ra, for whom he wrote the track “For you”, highlighted by Gilles Peterson as one of the best tracks of 2008.
Floatingpoints’ music is an elaborate mix of groovy cosmic sounds used dynamically in different spatial dimensions (depth, distance, time). His musical particles create a reach field were sounds float, spark and transform, taking the attentive listener on a trip around an electronic universe. The general vibe of his sound recalls a happy future along recalling the aesthetic of some 70s projection. Orange, brown and blue colors come out of his tracks when you use your eyes to listen, and there’s a funky vibe about them, pushing you to dance through soft waves of light.
Pure electronic music influenced by old music styles heading further than the future, brought alive by dirty beats and synths that play with melodies and rhythms. Floatingpoints’ music seems to be searching for a deeper meaning within electronic sound (does it seem to you that this is a theme in electronic music right now?). Although not totally developed, Shepard’s music is going through maybe the most fun stage in the process of developing a style, when feedback is positive and sprouts have to become strong enough to resist time and weather. Sam Shepard is only 22 years old, so this could increase the expectations of his audience (and maybe his own), as to the potential of his work.
His 12”, “Love me like this” became a hit among electronic music experts in a very short time. Benji B, Kode 9, Gilles Peterson, Jay Scarlett, Domu, Simbad, Ashley Beedle and Mary Ann Hobbes have recognized Floatingpoints’ talent and have supported his rise from out of London’s underground scene, where he has been developing until now.
Floatingpoints will be playing this Saturday at The Shelter with Alexander Nut, a controversial DJ running his own Radio Show on Rinse Fm, and who is also Floatingpoints’ partner on their record label Eglo. The Shelter is bringing them to play one gig only, and then they will fly back to the western lands. So, if you want to know what is going on beyond your bubble, near the horizons of music: get your adventure clothes on and run to The Shelter on Saturday.
Listen to Floatingpoints tracks on Soundcloud.com.
tags: Alexander Nut - Dance - Electronic - FloatingPoints - Funk - Jazz - Listen to - The Shelter
